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Das Oberitalienische Familienporträt in Der Kunst Der Renaissance

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Das Oberitalienische Familienporträt in Der Kunst Der Renaissance DAS OBERITALIENISCHE FAMILIENPORTRÄT IN DER KUNST DER RENAISSANCE: Studien zu den Anfängen, zur Verbreitung und Bedeutung einer Bildnisgattung Inaugural-Dissertation zur Erlangung der Doktorwürde der Philosophischen Fakultät II der Julius-Maximilians-Universität Würzburg vorgelegt von Severin Josef Hansbauer Würzburg 2004 Referent: Prof. Dr. Stefan Kummer Korreferent: Prof. Dr. Volkmar Greiselmayer Tag der mündlichen Prüfung: 10. Februar 2005 Vorwort Die vorliegende Studie wurde im Mai 2004 von der Philosophischen Fakultät II der Julius- Maximilians-Universität Würzburg als Dissertation angenommen. Herzlich danken möchte ich zunächst meinem Doktorvater Prof. Dr. Stefan Kummer, der mich zu dieser gattungsgeschichtlichen Untersuchung angeregt hat. Unverzichtbar wurden während der Arbeit die – manchmal hitzigen – Diskussionen mit PD Dr. Damian Dombrowski, die meine Herangehensweise an kunsthistorische Fragestellungen ungemein befruchtet haben. Meinen Eltern und Geschwistern, die mich nach dem Klosteraustritt beim Beginn eines neuen Lebens unterstützt haben, schulde ich ebenso meinen aufrichtigen Dank wie meiner ehemaligen Partnerin Rubina – und nicht zuletzt Aurora, meiner Ziehtochter. Würzburg, im Februar 2006 S. J. H. Inhaltsverzeichnis Vorwort Einführung ...................................................................................................................................................... 1 Erster Hauptteil: Das vielfältige Erscheinungsbild und die unterschiedlichen künstlerischen Auffassungen A. Die Anfänge des oberitalienischen Familienporträts I. Mantegnas freskiertes Bildnis der Familie Ludovico Gonzagas im „schönsten Gemach der Welt“ 1. Einführung ............................................................................................................................................... ..9 2. Beschreibung ........................................................................................................................................... 13 3. Die Auseinandersetzung in der Forschung um den Gegenstand der Darstellung ................................... 20 4. Mantegnas Porträtauffassung in der Camera degli Sposi......................................................................... 39 II. Das ferraresische Porträt der Familie Ubertos de’Sacrati 1. Forschungsbericht .................................................................................................................................... 45 2. Beschreibung ........................................................................................................................................... 48 3. Zur Zuschreibung a) Die problematische Zuschreibung an Antonio Leonelli da Crevalcore ........................................... 52 b) Zur Zuschreibung an Baldassare d’Este ........................................................................................... 56 c) Zur Problematik des Frühwerks Lorenzo Costas ............................................................................. 60 4. Zur Bedeutung der Früchte und zum Verhältnis zwischen Figur und Landschaft .................................. 64 5. Zur künstlerischen Auffassung des Familienporträts Ubertos de’Sacrati in München ........................... 70 B. Die allmähliche Ausprägung einiger Typen des oberitalienischen Familienporträts in der ersten Hälfte des Cinquecento III. Bernardino Licinio und die Genese des breitformatigen bürgerlichen Familienporträts in Venedig 1. Die frühen breitformatigen Gruppenbilder Bernardino Licinios ........................................................... 75 2. Licinios Bildnis einer bürgerlichen venezianischen Familie aus dem Jahr 1524 a) Forschungsbericht ............................................................................................................................ 79 b) Beschreibung .................................................................................................................................... 80 c) Licinios Auffassung des Familienporträts aus dem Jahr 1524 …………….................................... 84 d) Das Verhältnis zu den deutschen Familienporträts zwischen 1515 und 1535 .................................86 3. Bernardinos Porträt der Familie seines Bruders Arrigo Licinio aus den Jahren um 1535 a) Forschungsbericht .............................................................................................................................89 b) Beschreibung .................................................................................................................................... 91 c) Das Bildnis der Familie seines Bruders Arrigo als Höhepunkt in Licinios Porträtauffassung ........ 94 d) Das Verhältnis zu Maerten van Heemskercks Bildnis des Familie des Pieter Jan Foppesz. .......... 96 Exkurs: Ein hochformatiges bergamaskisches Familienporträt in der Sammlung des Conte Antonio Moroni ………..…………………………………………… 102 IV. Parmigianinos Pendantporträts der Familie Pier Marias II. de’Rossi 1. Forschungsbericht .................................................................................................................................... 110 2. Beschreibung ........................................................................................................................................... 123 3. Zur Zuschreibung und zur Anlage als Pendantporträts............................................................................ 129 4. Zur poetischen Auffassung Parmigianinos .............................................................................................. 134 V. Die venezianischen Familienporträts Lorenzo Lottos und Paris Bordons 1. Einführung ............................................................................................................................................... 138 2. Paris Bordons Familienporträt in der Sammlung der Herzöge von Devonshire in Chatsworth a) Forschungsbericht ............................................................................................................................... 139 b) Beschreibung ...................................................................................................................................... 142 c) Bordons künstlerische Auffassung des Familienporträts in Chatsworth ........................................... 143 3. Lorenzo Lottos Porträt der Familie Giovannis della Volta in London a) Forschungsbericht ............................................................................................................................ 146 b) Beschreibung ................................................................................................................................... 148 c) Zur künstlerischen Auffassung von Lottos Porträt der Familie della Volta .................................... 153 4. Lorenzo Lotto und Paris Bordon ............................................................................................................. 159 VI. Veroneses lebensgroße, ganzfigurige Pendantporträts der Familie des Conte Giuseppe da Porto aus Vicenza 1. Forschungsbericht ................................................................................................................................... 161 2. Beschreibung ........................................................................................................................................... 169 3. Veroneses maßvoll illusionistische Auffassung .................................................................................... 172 C. Die zunehmende Ausbreitung der Gattung in der zweiten Hälfte des Cinquecento VII. Die lebensgroßen, ganzfigurigen Familienporträts Giovanni Antonio Fasolos 1. Einführung ............................................................................................................................................... 175 2. Forschungsbericht ....................................................................................................................................176 3. Giovanni Antonio Fasolos 1558 datiertes Porträt einer adeligen Familie in San Francisco ................... 181 4. Das Familienporträt in Sarasota .............................................................................................................. 185 5. Fasolos lebensgroße, ganzfigurige Pendantporträts der Familie des Giuseppe Gualdo in Vicenza ….... 188 VIII. Die familiären Gruppenbildnisse Sofonisba Anguissolas und Giovanni Battista Moronis 1. Sofonisba Anguissolas familiäres Gruppenbildnis ihres Vaters Amilcare mit Minerva und Asdrubale a) Forschungsbericht ............................................................................................................................ 196 b) Beschreibung ................................................................................................................................... 202 c) Zur künstlerischen Auffassung von Sofonisbas familiärem Gruppenbildnis ................................. 206 2. Das Verhältnis zu Giovanni Battista Moronis Witwer mit seinen beiden Kindern a) Forschungsbericht ............................................................................................................................ 211 b) Beschreibung ................................................................................................................................... 214 c) Zur künstlerischen Auffassung von Moronis familiärem Gruppenbildnis ...................................... 216 IX. Bartolomeo Passerottis bolognesische Familienporträts 1. Forschungsbericht ..................................................................................................................................
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